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|a ND623.T7
|b N53 2013
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|a 257
|2 23
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| 100 |
1 |
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|a Nichols, Tom,
|d 1958-
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| 245 |
1 |
0 |
|a Titian :
|b and the end of the Venetian Renaissance /
|c Tom Nichols
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| 250 |
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|a 1st ed
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| 264 |
|
1 |
|a London, UK :
|b Reaktion Books,
|c [2013]
|
| 264 |
|
4 |
|c ©2013
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| 300 |
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|a 1 online resource (257 p.)
|
| 336 |
|
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|a text
|b txt
|
| 337 |
|
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|a computer
|b c
|
| 338 |
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|a online resource
|b cr
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| 500 |
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|a Description based upon print version of record
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| 504 |
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|a Includes bibliographical references and index
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| 505 |
0 |
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|a Cover; Titian and the End of the Venetian Renaissance; Imprint Page; Contents; Introduction; Titian's Last Painting: The Sight of Death; An Inglorious Passing; or,The Difficult Case of the Pietà; How 'Venetian' was Titian?; Surrogate Monuments to the Leader of a Tradition; One: Art as Appropriation: The Rise of Titian; Giovanni Bellini: The Model Venetian; Bellini and Titian: Master and Pupil; Titian and the Venetian Istoria; Titian and Giorgione; Giorgione and Titian's Early Portraiture; The Early Mythologies; Titian Repaints Palma Vecchio; Two: Remaking Tradition: Icons and Altarpieces
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| 505 |
8 |
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|a Anachronic Titian The Modern Icon; The Cultural Dynamics of Space in Two Altarpieces for Venice; Private Values in a Public Picture Type; Altarpiece or Artwork?; Three: Portraiture and Non-Venezianità; Portraiture in Renaissance Venice; Titian's Portraits to 1530: Accommodation of the Courts; Habsburg and Related Portraits of the 1530's; Historical Portraits; Natura Potentior Ars; Four: Sacred Painting, the Poesie and the Late Style; Titian as Tradition; Titian's Hybrid Poesie; Two Late Mythologies; Early Responses to Titian's Late Style; The Late Style in Critical and Historical Perspective
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| 505 |
8 |
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|a Five: Titian and Venice: Surviving the Father of Art Patrons and Prices; Titian Versus the Rest: A Literary Self-image; Pictor et Eques: Titian's Self-Portraits; Images of Succession; Images of Attachment; The Darker Side of Titian; or, The Anti-Image; Venetian Responses to Titian: Veronese and Tintoretto; Conclusion; Titian and the End of the Venetian Renaissance; Titian in Disguise; References; Bibliography; Acknowledgements; Photo Acknowledgements; Index
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| 520 |
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|a Titian is best known for paintings that embodied the tradition of the Venetian Renaissance-but how Venetian was the artist himself? In this comprehensive new study, Tom Nichols probes the tensions between the individualism of Titian's work and the conservative cultural and political mores of the city, revealing his art to be original inventions that undermine the traditional self-suppressing approach to painting in Venice. Rather, Nichols argues, Titian's works reflected his engagement with the individualistic cultures emerging in the courts of early modern Europe. Ranging
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| 546 |
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|a English
|
| 588 |
|
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|a Description based on online resource; title from PDF title page (ebrary, viewed December 26, 2013)
|
| 650 |
|
0 |
|a Painting, Italian
|z Italy
|z Venice
|v Exhibitions
|
| 650 |
|
0 |
|a Painting, Renaissance
|z Italy
|z Venice
|v Exhibitions
|
| 776 |
|
|
|z 1-78023-186-5
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1 |
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|s US-NCD
|m titianand_the_end_of_the_venetian_renaissance______________________________2013____1__reakta________________________________________nichols__tom_______________________e
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